for the most part pianists and harpsichordists don’t have direct contact

for the most part pianists and harpsichordists don't have direct contact

for the most part pianists and harpsichordists don’t have direct contact

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For the most part, pianists and harpsichordists don’t have direct contact with the strings of their instruments. Therefore, they manipulate sound through a …

Answer:

A key.

Explanation:

Think about it, we press on those slabs of pianos to make a note, )these are called keys) and the key has a small hammer that strikes a string in said piano, making a note.

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for the most part pianists and harpsichordists don't have direct contact
for the most part pianists and harpsichordists don’t have direct contact
Composers started marking their scores with instructions about dynamics: Well into the 17th century
For the most part, pianists and harpsichordists don’t have direct contact with the strings of their instruments. Therefore, they manipulate sound through a _______________mechanism. keyboard
Which of the following two excerpts uses soft dynamics?
A. play
B. play
Excerpt B an excerpt of Beethoven’s Moonlight Sonata for piano, exemplifies soft dynamics.
Percussion players produce more or less volume by changing bow pressure and speed. False Percussion players DON’T produce more or less volume by changing bow pressure and speed. They simply don’t use a bow.
The volume of this excerpt is an example of which of the following?
-play-
Piano This excerpt from Modest Mussorgsky’s Pictures at an Exhibition is an example of piano volume.
Volume and dynamics are interchangeable terms.
True
As a musical concept, dynamics covers only the overall loudness or softness of a piece of music. False That was a false statement. Dynamics can refer to the overall loudness or softness of music, as well as to the process of gradual change between volume levels.
Musicians have always made their own choices regarding volume to fine tune their playing to specific performance spaces. False This only happened before composers started marking scores with instructions about volume.
This musical excerpt is an example of forte True This excerpt from Antonin Dvorak’s Slavonic Dance No. 8 is an example of forte.
A pianist’s skill in manipulating volume is usually referred to as the performer’s_______________ touch
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